Have you ever attended an audition and wished that you knew what the director was looking for? We've rounded up some of our favorite quotes from our Director's Notes column over the past few years to give you a deeper glimpse into the minds of 10 artistic directors.

Ashley Wheater, Joffrey Ballet

"I want to develop and nurture artists," says Wheater, seeking "people who are not afraid to be expressive, and understand all the layers that go into making a work above and beyond the steps."

Ingrid Lorentzen, Norwegian National Ballet

"I like athletic classical dancers, with very strong footwork and articulation," Lorentzen says. "But it's also about the feeling I get from them, who I think can adapt to the Norwegian way."

Gen Horiuchi, Saint Louis Ballet

"The minute you walk into the studio you are being evaluated," says Horiuchi. "I look for individuals who are technically and artistically well-rounded. I also look at how they engage with my dancers. Presence and personality are important."

Kevin O'Hare, The Royal Ballet

The Royal Ballet doesn't hold auditions, but if it's your dream company, your best bet is to find a way into its affiliated training program. "My first stop is The Royal Ballet School," says O'Hare, who assesses RBS students throughout their training. "I love somebody who really moves. A natural dance quality and musicality are so important. If you've got that, you can always work on the technique."

Adam Sklute, Ballet West

"I like an artist who creates magic onstage. Also someone who listens, because it's that attention to stylistic detail that matters so much."

Robert Hill, Orlando Ballet

Hill's primary focuses are solid technique and artistic versatility. "They have to be classically strong, but they have to be able to boogie," he says.

Devon Carney, Kansas City Ballet

"Musicality is paramount to me, as is attentiveness to the material and being able to exactly reproduce it quickly," says Carney. He also places great importance on a dancer's demeanor, professional appearance, resumé and photo.

Steven Wistrich, City Ballet of San Diego

"I look for dancers who are intelligent—right away they're picking up the steps," says Wistrich. "I look for personality—if they are dancing from the inside out rather than the outside in. I really like dancers who have a voice, who have something to express—with a light in their eyes. They shine."

Kevin Irving, Oregon Ballet Theatre

"I want dancers who can dance—that's something that can't be taught," says Irving. "I'm as much a sucker for a beautifully shaped foot or a great line, but I'm always drawn to people, even when they're young, who can embody that poetry."

Terrence Orr, Pittsburgh Ballet Theatre

"The look of the dancer is very important," says Orr, "and that can be defined in all kinds of ways. I want dancers who are not only great technicians but also gifted actors. An equally important part of the audition process is having conversations with the dancer to get to know their heart and how they will fit in."

Larke Johnson in rehearsal. Courtesy The Joffrey Ballet

Marie and Franz have a new guest at their Christmas Eve party this year. Emma Lookatch and Larke Johnson, both dancers in the Adaptive Dance Program at Joffrey Academy of Dance: Official School of The Joffrey Ballet, are alternating in the new role of Worker Girl. It is a permanent part created specifically for students with disabilities in Christopher Wheeldon's version of The Nutcracker at The Joffrey Ballet.

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Francisco Estevez, Courtesy Colorado Ballet Academy

When you're looking for a ballet program to take you to the next level, there are a lot of factors to consider. While it's tempting to look for the biggest name that will accept you, the savvy dancer knows that successful training has more to do with the attention and opportunities you'll get.

We put together a few of the most important things for dancers to look for in a summer or year-round training program, with the help of the experts at Colorado Ballet Academy:

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Ballet Training
Ballet Austin Academy students practice priouette en dehors. Annie Marie Bloodgood, Courtesy Ballet Austin.

Michelle Martin, associate artistic director of Ballet Austin, says that pirouettes en dehors from fourth position allongé are full of "traps" for dancers. Whether you trained with a straight back leg or have never tried it before, Martin's analytical breakdown will help you master this basic but dazzling turn.

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Rosalie O'Connor, Courtesy US Prix de Ballet

The US Prix de Ballet is taking an unconventional approach to the ballet competition—by putting the competitors' health first. After a successful first year in 2018, the Prix is returning to San Diego, CA this February with an even more comprehensive lineup of wellness workshops and master classes, in addition, of course, to the high-level competition.

Though the talent is top-notch, the environment is friendly, says HARID Conservatory faculty member Victoria Schneider, who serves on US Prix de Ballet's elite panel of judges. "The wellbeing of the dancer is the main focus," says Schneider, who awarded three scholarships to HARID at last year's competition.

US Prix de Ballet was born after its founders traveled to the Japan Grand Prix International Ballet Competition in 2016. "The company ran every aspect of the competition with professionalism, dignity, honor and precision," says founder Neisha Hernandez. "We knew we wanted this level of experience for America."

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